Daniel Gardner
Daniel Gardner | |
---|---|
Born | Daniel Gardner 1750 Kendal, Westmorland, England |
Died | London, England | 8 July 1805
Nationality | English |
Known for | Portraitist |
Daniel Gardner (1750 – 8 July 1805) was a British painter, best known for his work as a portraitist. He established a fashionable studio in Bond Street in London, specializing in small scale portraits in pastel, crayons or gouache, often borrowing Reynolds' poses.
By some critics Gardner is regarded as a notable artist who, however, was not an accurate draughtsman if it came to figure work especially to facial construction in some of his pastels. For others, on the other hand, it is this special looseness or facile elegance which represents the uniqueness of Gardner's style, and in which they see an anticipation of impressionism.
Education and career
Daniel Gardner was a pupil of
At around 1773 Daniel Gardner worked with Joshua Reynolds. It is said that in several of Joshua Reynolds' pictures, the trees or foliage were the work of Gardner. Reynolds' late style clearly influenced Gardner's work in terms of composition, handling, and conception of figures. However, if it comes to figure work Gardner was never such an accurate draughtsman like Reynolds was. It is quite easy to believe that Gardner was responsible in many instances for the landscape backgrounds, for the trees, for the tree trunks and for the wreaths of flowers in Reynolds' paintings. But it is not at all likely that Daniel Gardner was responsible for any of the figure work in the paintings of Joshua Reynolds.[2][3][4][5][6]
Daniel Gardner became very popular as a portraitist. He portrayed some of the most famous personalities of his days like Jane Gordon, Duchess of Gordon, Georgiana Cavendish, Duchess of Devonshire, Charles Cornwallis, 1st Marquess Cornwallis, Elizabeth Lamb, Viscountess Melbourne, Frances Villiers, Countess of Jersey, Angelica Kauffman and Lord George Gordon. Therefore, it does not come as a surprise, that Gardner appears to have made money very rapidly. His pictures were very popular, he was able to paint quickly, and he got good prices for them. He spent a considerable part of his time away from home, having adopted the practice of staying in the house with his patron, when he could paint various members of the family, and sometimes of the neighbouring gentry as well. During all this time, Gardner was carefully saving up his money, and as soon as ever he was able to do so, he purchased on 10 December 1787 the old home of his parents in New Street, Kendal, and the property adjacent to it. Gardner continued this practice of buying houses and land for many years, until he had accumulated a substantial fortune and finally could afford to retire.[2][7][8]
In particular Gardner was well known as a
It is said that Daniel Gardner made many of his own colours from strange
Gardner hardly ever signed his works. As a result, his works were later, mainly in the 19th century, often attributed to his colleagues Joshua Reynolds or Thomas Gainsborough since they were better known within the general public.[2] However, this does not come as a surprise if one takes into account that Gardner worked with both, Joshua Reynolds as well as Thomas Gainsborough.[11] Marion Spielmann, in his work on British Portrait Painting, speaks of the connection between Thomas Gainsborough and Daniel Gardner. Spielmann refers to the "facile elegance of Gardner's work, which brings him closer to Gainsborough," but goes on to say that "his handling was more deliberate and smoother than Gainsborough's, and wholly lacking, of course, in the feathery touches which the greater man came to adopt." "Perhaps," he adds, "the occasional looseness of Gainsborough's drawing was too easily identified with that of Gardner." Spielman, however, is bound to notice "the extraordinary carelessness and defiance of facial construction" that is characteristic of some of Gardner's pastels, and points out that Gainsborough could never have painted in that method, and could never have made such mistakes as Gardner made in his haste.[12]
Samuel Redgrave wrote about Daniel Gardner: "He had a nice perception of beauty and character, and composed with elegance."[3] And William Hayley wrote in his Essay on Painting, Epistle II:[13]
Let candid Justice our attention lead
To the soft crayon of the graceful Read;
Nor, Gardner, shall the Muse, in haste, forget
Thy Taste and Ease; tho' with a fond regret
She pays, while here the Crayon’s pow’r she notes
A sigh of homage to the Shade of Coates.
The president of the Royal Cambrian Academy of Art in Conwy, Sir Cuthbert C. Grundy (1846–1946), together with his brother John R. G. Grundy († 1915) founder of the Grundy Art Gallery in Blackpool, considered Daniel Gardner the most successful English pastellist of the 18th century, surpassing Joshua Reynolds in freedom and spontaneity, and John Downman in attaining finer and richer colour.[2]
Many of Gardners portraits were later engraved by engravers like
Since Daniel Gardner could afford to retire at the height of his fame he also got out of the public eye and was nearly forgotten as an artist when he died in 1805. It was not until 1911 when his name and fame again came back into public awareness when his great-granddaughter, Miss H. B. Gardner, sold his portrait of Elizabeth Haward, Gardner's sister-in-law, through
Private life
Daniel Gardner was a Westmorland man, born in Redman's Yard, Stricklandgate, Kirkby-Kendal in 1750. His father Caleb was a cordwainer, his mother was Elizabeth Redman, sister of Mr. Alderman Redman of Kendal, an upholsterer, with whom
Daniel Gardner married his wife, whose first name was either Ann or Nancy, Haward on 8 October 1776. She was the sister of the engraver Francis Haward (born 1759). Gardner and his wife had two sons. However, only the elder son George (born 1778) survived. Gardner's wife died shortly after the birth of the second son in 1781. He never fully recovered from this tragic incident.[2][3][20]
After the early death of his wife, Daniel Gardner sent his son George to Kendal, where he was brought up by the Pennington family with whom Daniel Gardner had formed a close relationship. William Pennington of Dowker & Richardson, Attorneys, also looked after Gardner's business affairs in Kendal. Evidence of this friendship is a double portrait that Daniel Gardner painted around 1780 showing William Pennington and himself. George Gardner became a barrister and a burgess of Kendal. He later married Harriet Anne Cumming. They had a son called George Harrison Gardner who was born in July 1814 and baptised in April of the following year by the Rev. Robert Blair, the Rector of Barton St. Andrews, Norwich, whose portrait Daniel Gardner painted.[21][22]
According to
The value of his estate, which Gardner left to his only surviving son George, was declared at £10,000. However, it seems to be probable, from what his contemporaries thought about Gardner, that he had a far larger fortune to leave behind than would be represented by a sum of £10,000. It is possible that the whole of the Kendal property may have been already placed in the name of his son, and therefore did not appear in the declaration that was made on the decease of the father, or there may have been some way of avoiding a declaration as to the value of his landed estate.[23][24]
Character
Daniel Gardner was an
Gardner did not mix easily with his fellow artists, who viewed him as parsimonious, but he did form a close friendship with Joshua Reynolds and John Constable. Gardner portrayed Constable in 1796.[2][13][26]
Exhibitions (posthumous)
- Daniel Gardner, Amateur Art Society, Hamilton Place, Piccadilly, London, 1910
This exhibition included 70 small portraits owned by Lady Strachey which were formerly in the collection of Lord Carlingford who purchased the pictures from Anne Eliza Dixon, Daniel Gardner's granddaughter. This collection was sold in 1911 at Christie's, and realised about a thousand pounds sterling.
- Daniel Gardner, 12 pastels from the collection of Lady Strachey, Cottier Gallery, New York, 1913
- Daniel Gardner, Abbot Hall Art Gallery, Kendal, 1962
- Daniel Gardner, 1750–1805, Kenwood House, London, 1972
Collections
Works by Daniel Gardner form part of the following collections:
- Abbot Hall Art Gallery in Kendal
- National Portrait Galleryin London
- Tate Britain
- Victoria and Albert Museum
- Montacute House
- Mitchell Library, State Library of New South Wales, Sydney
Literature
- George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921
External links
- Harriet Drummond, International Head of British Art on Paper at Christie's. Harriet Drummond discusses Daniel Gardner's full-length portrait of Mary Sturt of Crichel (1740–1807) standing with her three eldest children, Diana, Mary and Humphry. This painting was sold at Christie's, London, King Street, for £133.875 in sale 1137, lot 65, on 2 July 2013.
- Sketchbooks, geneaological material, accounts and letters of Daniel Gardner and family at Cumbria Archive Centre, Kendal
References
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 22.
- ^ a b c d e f g h Neil Jeffares: Dictionary of pastellists before 1800 – Gardner, Daniel. 2012.
- ^ a b c d Samuel Redgrave: A Dictionary of Artists of the English School: Painters, Sculptors, Architects, Engravers and Ornamentists: With notices of their lives and work. George Bell and sons, London, York Street, Covent Garden 1878, p. 167.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 16.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 17.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 41.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 34/35.
- ^ a b c The New York Times: The World of Art: Daniel Gardner, 31 July 1921.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 31.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 30.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 7.
- ^ Marion Henry Spielmann: British Portrait Painting to the Opening of the Nineteenth Century. London, Berlin Photographic Co., 1910, Vol. II, p. 35.
- ^ a b George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 18.
- Oxford Dictionary of National Biography, Oxford University Press, 2004
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 20.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 12.
- ^ Rev. J. Romney, brother of George Romney: Memoirs of George Romney. [B. M. 787, I. 29], p. 12.
- ^ Cornelius Nicholson: Annals of Kendal. [B. M. 10358, g. 12].
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 13.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 19.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 21.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 26.
- ^ Philological Society of London: The European Magazine and London Review. Published by James Asperne, Successor to the late Mr Sewell at the Bible, Crown & Constitution Cornhill, Vol. 48, from July to Dec., 1805, Monthly Obituary, p. 79.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 42.
- ^ George Charles Williamson: Daniel Gardner, painter in pastel and gouache: A brief account of his life and works. John Lane, the bodley head, Vigo St., W, London 1921, p. 43.
- ^ The Victoria and Albert Museum, London.
- ^ John Burke & John Bernard Burke: A genealogical and heraldic history of the extinct and dormant baronetcies of England, Scotland & Ireland, second edition. Printed for Scott, Webster, and Geary, Charterhouse Square, London 1841, p. 520.